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VO LUM E 10 




An Interview with the 

Paterfamilias of Pop-up 

Part Three of Three 

This is part three of a three-part interview with 
Wally Hunt conducted by Kate Sterling on August 25, 
2001 at Intervisual Books in Santa Monica, California. 

K: Jan Pierikowski. 

W: A very fascinating guy - a Polish refugee during the 
big war. His family came from Poland, went to Italy, 
ended up in London. Extremely talented. He's not a paper 
engineer, not an artist; he's a designer. He gets good 
people to work with him. He's certainly one of the most 
talented people in the industry and he's been marvelous 
for us. His Haunted House is the world's best seller with 
1,250,000 copies produced. His mini-series we did about 
six years ago, sold over a million each of his four 

K: Besides Carter's, there's 
another strong series. 

W: Well, Jan's minis were the 
strongest. They were stronger 
than David's. 

K: And David Pelham. I'd like 
to hear more about him. He 
came over from England and 
did The Human Body, Facts of 
Life and Universe . . . 

W: Pelham, yes. Now there you're talking about an 
outstanding designer. He designed thousands of book 
covers for Viking Penguin. And that was his career. Tom 
Mashler, the publisher who got Nicola Bayley started, also 
got him started on The Human Body book. It has been the 
best selling adult book - comparable to the Haunted 

K: It's been in production since 1982? 

W: Yes. And then we did his Facts of Life, then Universe. 

Continued on page 2 


L-. -::J 

My Favorite Pop-up Book 

By Adie C. Pena 

Makati City, the Philippines 

with a lot of help from 

Kees Moerbeek 

The Netherlands 

Give a visitor about an hour or so to browse around my 
pop-up museum (actually the lobby of my advertising 
agency, located in the Central Business District of the 
Philippines) and the question is bound to come up. "What's 
your favorite pop-up book?" Expecting me to pull out from 
my shelves a sought-after title with over-the-top 
three-dimensional effects, my guests are usually surprised 
when I show them a charmingly simple 6 1 /8" by 8 l A" book 
that utilizes a dimensional technique Tadashi Yokoyama 
calls the "collapsible box." 

How it became my favorite pop-up book was due to a 
delightful obsession that started when I was a young boy 
growing up in Manila in the 1950s. And how this pop-up 
book became charmingly simple is actually a complicated 
story, its conception was a consequence of necessity and 

In 1980, when Carla Dijs and Kees Moerbeek were 
students at art school in Arnhem, a teacher showed them Jan 
Pierikowski's Haunted House (1979) and asked them to 
make "a dimensional concept along those lines." Kees 
reminisces: "I had never paid much attention to pop-ups at 
all before and Haunted House was the first dimensional book 
I really took a close look at. I wasn't very impressed then 
with the book since I thought the mechanics were 'so-so' 
and the art was not very sophisticated." 

Finding the 
subject matter of 
Mr. Pierikowski's 
book too remote 
and irrelevant, 
Kees decided to 
build "something 
dimensional that 
was really 'very 
something more 
Continued on page 8 

Kees Moerbeek's pop-up 
"Breakfast Scene" 

The Movable Book Society 

ISSN: 1097-1270 
Movable Stationery is the quarterly publication of The 
Movable Book Society. Letters and articles from members 
on relevant subjects are welcome. The annual membership 
fee for the society is $20.00. For more information 
contact: Ann Montanaro, The Movable Book Society, P.O. 
Box 1 1654, New Brunswick, New Jersey 08906. 

Daytime telephone: 732-445-5896 

Evening telephone: 732-247-6071 


Fax: 732-445-5888 

The deadline for the next issue is November 15. 

Hunt interview, continued from page 1 

W: Yes, that's the only book ever dedicated to me. 

K: The Universe he dedicated to you. 

K: David Pelham's dedication to you in Universe is pretty 
nice, as well as clever - a reference to your being a 
multidimensional man. 

W: Yes it was. Do you know who really is a 
multidimensional man? Jonathan Miller's a man for all 
seasons. Are you familiar with 
him at all? 

K: I don't know anything about 
him personally. 

W: Doctor of musicology, doctor 
of medicine, comic actor. Really, 
he's an absolutely remarkable 
human being. 

K: He did the text of the Facts of 
Life and Human Body. 

W: David Pelham seriously considered moving to 
California but his wife had a very good job in England. 

K: David was working on which book before he returned 
to England? 

W: Nightmare. And that book has never been produced. 
He was working on it with Nick Bantock. But we got 
Bantock started on his own series of pop-up books. Many 
people seem to think that Bantock is a paper engineer, but 
he isn't. He's an illustrator and an excellent author. 

K: Are you developing any new series of books? You set 

the trend with David Carter's bug books, Jan Pierikowski's 
sound books, National Geographic, etc. 

W: You missed Chuck Murphy's ''Learn About" series. We 
produced 16 titles over a seven year period, 1975-1982, and 
they are still selling today. The basic books such as numbers, 
colors, etc., have all sold over 600,000 copies each. Chuck 
is producing some spectacular books today, but his early 
books helped start an industry. 

K: From what you've told me, you left advertising for many 
reasons. There was no loyalty and relationships that had 
been good working relationships could disappear in an 
instant. You wanted to have your own niche, and that was 
pop-up books. Part of your challenge has been to keep your 
talent working for you and Intervisual has been a wonderful 
training ground for an incredible amount of talent. We went 
through a partial list of people who have been at Intervisual 
and I think that's readily apparent. So, looking at Intervisual 
from that standpoint, as a training ground, do you have some 
pride in that? 

W: Oh, of course! Of course! I've got pride in the success of 
every one of these people, whether they make a book for me 
or for somebody else. It's like being a schoolteacher. My 
brother is a doctor in musicology. He has sent me letters 
from his former students who say, "Thank you for getting 
me started in the right direction." My experience has been 
the same. There is a lot of satisfaction in being able to 
influence someone and help to make them more successful. 
And when these people are entertaining and educating, it 
makes it that much more fun. 

K: David Carter speaks fondly of his days at Intervisual. He 
was there when Jim Deesing came aboard and met your 
daughter. Those were fun times according to David. What 
are your memories of Dave and Jim? 

W: They were very good friends; they were best friends. 
They went to school at Utah State University in Logan, 
Utah. Yeah it's been fun. Jim, my son-in-law, and my 
daughter moved to Springfield, California, and Jim still 
works here as a freelance designer. He designed Wizard of 

K: So Jim is working 
primarily for Intervisual? 

W: Yes, he is. He also 
designed the Harley 
Davidson book and Elvis 

Continued on page 18 

Books with (re-)movable Illustrations 

Theo Gielen 
The Netherlands 



t - I ' J - J !.../-■ 


on a 
edition of 

as Ellen 
Rubin posed 

in a recent issue of Movable Stationery 1 and more detailed 
questions she asked when I contacted her, led me to write 
this somewhat extensive answer that might be of interest 
for a broader readership. To my knowledge nothing has 
been written yet about this kind of novelty book from the 
Regency period (first third of the 19 th century) that precede 
the "real" movable books and so belong to the pre-history 
of this book category. They can be situated in a range with 
- partly even originate from - the earlier puppet books as 
published, for example, by Fuller in the 1810s, the toilet 
books from the 1 820s, or books with kind of do-it-yourself 
illustrations (by inserting small pictures into a base-card) 
known, likewise, from the 1810s and 1820s. 

Gulliver as an example 

■ ■ 

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Readers may have seen the pictures of Ellen's purchase 
on her website. 2 But let me describe this concrete example 
of what we are talking about. Imagine: a (small) booklet 
of 13 x 9 cm., telling the (adapted) story of Gullivers's 
Travels m 128 unillustrated pages. There is a nice hand- 
colored lithographed picture pasted on the front cover, 
integrating the short title Gulliver and originally bordered 
by a small strip of blind-stamped gold paper. A caption 
can be read at the top of the picture: "Visite a la Capitale 
de L' Empire" (Visit of the capital of the country); at the 
bottom: "CH. Letaille inv. et del.," indicating that 
Ch[arles] Letaille "inventit" (designed) and '"delineavit" 
(has drawn) the picture(s). Usually there is on the spine of 

books of this period a somewhat stylized decoration and 
again the title, often in gold. A richly decorated cover like 
this is known in Europe as a "cartonnage romantique" 
(romantic binding). 

The title page is preceded by a short "Avis important" 
(an important message) signed by C[harles] L[etaille], 
stating that Swift's original Gulliver 's Travels surely isn't a 
book that can be given into the hands of children since the 
immorality of certain passages would shock the children's 
mind and the implicit critical and philosophical notes in the 
book wouldn't be understood; but since the publisher has 
made efforts to adapt the stories to the conception of the 
supposed little reader, he can assure every father that he 
gives his child a wonderfial and amusing book when he 
offers it a copy of this edition of Gulliver, containing only 
the travels to Lilliput and Brobdignac... 

The frontispiece, opposite the title page, shows the same 
full-page picture as the front cover, lithographed and hand- 
colored. The full title on the title page reads: Voyages de 
Gulliver. Nouvelle Edition Specialement Destinee a la 
Jeunesse et ornee de nombreuses Figures decoupees. 
{Travels of Gulliver. New Edition especially intended/or the 
Youth and decorated by numerous cut-out figures). The 
"New Edition" has to be interpreted to indicate the new 
adaptation of Swift's book, not as a second edition or a 

There follows a publisher's vignette incorporating "CL," 
the initials of Letaille, and the impression: "Paris. Ancienne 
Maison Pintard. Charles Letaille, Editeur, et chez tous les 
Libr.[airies] et March. [ants] de Nouveautes." (Paris, Former 
Publishing House of Pintard. Charles Letaille. Publisher, and 
at all bookshops and novelty-dealers). The book is undated. 

As said, next there are 128 pages of text that tell the story 
of Gulliver adapted for children. Most peculiar however is 
the way the book is illustrated: between the text there are 
nine blank pages with small incisions in which tit the pieces 
of paper pasted at the backside of small shaped pictures 
lithographed in black and brown ("chamois"). The pictures 
can be removed and placed on your table outside the book, 
using the pasted strips for a stand. These illustrations appear 

Continued on page 14 

Profile of Robert Crowther 

By Mike Simkin 

With an abundance of selected pencils, pens, colors 
and pieces of card, cut into all shapes and sizes, lying on 
the brightly illuminated table in his studio, it was not 
surprising to learn how Robert gets his energy to create 
and convert his ideas and stories into a bookish format 
with movable illustrations, which literally come to life in 
your hands with varied degrees of vitality and complexity. 
"I think of the movable ideas in my head and I have to 
play with the cardboard to see how it is working. 
Sometimes the material suggests other things, which 
would not appear in the flat or on the screen." Robert's 
name is one of the few who are wholly synonymous with 
this book form and it's development since the revival in 
1976. He has published 26 books in 22 years, all of which 
continue the tradition of bringing the story telling alive 
through his very personal experimental ingenuity and 
innovative skills for designing books with interactive 
paper movements of tabs, flaps and pop ups to provide 
expected or unexpected surprises in pursuit of providing 
for the memorable educational or entertaining 

Unlike the books of most authors and illustrators for 
children today, each book in Robert's full body of work 
physically represents a relatively different and distinctive 
identity, particularly in their structure between the covers. 
He has broken new ground many times but none more so 
than with Deep Down Underground (1998) by literally 
showing behind the scenes of each page throughout the 
book to explain how the moveable sequences work. This 
was his response to the perennial question of, "Why don't 
you show us how to make pop-ups?" 

He started off by being an illustrator as he says in reply 
to the inevitable question in schools, "How did you start 
working in your particular way with moveable books?" "I 
didn't really have the confidence in my illustrations in the 
early days and I just thought I will make more of a thing 
of the movements to actually have the illustrations 
moving. You would then be more interested in how they 
move and the secondary thing would be how they are 
drawn." Now many years later he recalls the effect of 
other media on his work and illustration. "I have more 
confidence now and work to a certain style that I feel 
comfortable with and that people recognize. There are two 
distinct styles from my point of view, the younger one 
which is fairly simple, which I started when 1 was 18 to 
illustrate the Three Little Pigs for Yorkshire TV and that 
was by necessity very simple line drawing in those days 
for that kind of work with television animation. I have 
since developed the use of solid lines with the idea of 
coloring in." 

As the elements of illustration, movement, time and 
three-dimensionality have evolved in Robert's books, they 
can be appreciated and experienced as small portable 
theaters of interest, fun, anticipation and participation. 
Where the reader has the freedom and control in their own 
hands and in their own time to actively engage with the 
paper mechanics to change or transform the story telling 
potential of each double page spread in his books. 

In his first classic book The Most Amazing Hide and Seek 
Alphabet Book, which he completely originated and 
designed himself whilst at the Royal College of Art and 
published in 1978 to be acclaimed as the runner up in the 
Mother Goose Award 1979. Each of the 26 characters in this 
book magically comes alive at the pull of a tab or the 
opening of a flap. This is an extraordinary number of 
movements for a book of this time. Each character has 
instant impact and narrative value of their own. There is a 
clever balance of character and appeal, which reinforces the 
memory value of each letter. For the letter M, the mouse 
moves from right to center as an appearing and disappearing 
act. For O, the characteristic blinking eye movement of the 
owl suggests he is benignly communicating woe betide you 
if you forget what I stand for. I am so wise and so different 
to the N for Newt on my right and P for parrot on my left. 

Ten years later in his first book for Walker Books, Pop 

Goes the Weasel, which he 
loved doing because he 
could take a rhyme and turn 
it with one trick movement. 
There are sometimes as 
many as six designed and 
coordinated movements to 
each double page spread. It 
is difficult to forget farmer 
Giles jumping clean over the 
styles, or what actually 
happens in "Sing a Song of 
Sixpence" when the pie is 
opened. "These are just 
simple illustrations dotted on a page but forced into a 
composition by the mechanics behind the scenes," says 

Within the five panoramic scenes of the very atmospheric 
and colorful All the Fun of the Fair (\99\) the reader 
becomes a visitor to a fair ground between the changing 
light of day to night. So not only do you get immersed in the 
changing dioramic illustrations and all the dazzling 
illuminated attractions but Robert invites you to look at, up, 
over and into the side shows. Indeed if you fail to look 
behind one of the flaps you will miss our hero Robert 
himself who is trying to sell you an unbeatable Bob's 
Burger. Just watch out for the candy- floss in his right hand, 
if it doesn't hit you it will hit the little scamp of a mutt. 

Robert Crowthers 


Goes the 

"I work in isolation and 
I work to produce 
something that makes me 
laugh or surprise me. I 
hope that grown ups will 
read and share each book 
as there is a level of 
humour, which adults may 
see and children will miss. 
Of course it can well be 
the other way around, which is even more of a bonus." 
Visual comment and humor are integral ingredients of 
Robert's books. If not openly spelled out on the page in 
words, quirky humour occurs as a consequence of the tab 
being pulled or turned over. Eye catching pictorial events 
of this kind occur in The Most Amazing Night Book when 
words, images and movements are affected. Also in the 
Pop-up Animal Alphabet, at the pull of the tabs or a lift of 
the flaps, A is represented by the artist, aquarium, 
alligator that doubles his length and anteater that is in hot 
pursuit of 1 6 ants. 

Robert is very happy alternating across all ages in 
children's books. For the younger child learning literacy, 
numeracy and basic concept skills he has created at least 
three alphabet books, three number books, an opposites 
book and recently the very bold Colours. For the older 
child, he has produced movable compendiums of 
information taking as their subject the Olympics and the 
history of household inventions. In Robert's words, "A 
slightly different book with a nod to the old fashioned 
pop-ups which were around when I was a boy." On his 
most recent book, Football he says, "In this book I am 
trying to produce something I would have liked to have 
played with when I was 1 1 ." 

He never appears to be at a loose end in conjuring up 
ideas for new books or for developing his own movements 
to solve new and specific problems. Over a period of 10 
years, the same sliding movement has been developed to 
accomplish dramatic effects of a dodgem car avoiding a 
collision, runners overtaking one another in the Olympics 
and to illustrate the "off-side" rule in football. 

When it was time to leave Robert and his American 
wife Nancy at their appropriately named Alphabet 
Cottage, which fronts onto the traditional village green in 
an idyllic Norfolk environment, one was reassured that 
there are many more distinctive movable ideas in his head 
as he shapes new paper movements in his studio at the 
bottom of the garden. Whilst driving out of the village into 
the countryside, it was amazing to realize how close his 
magical paper movements mirrored the natural models in 
real life. This applies not only to the animals and birds but 
also to the machines and the lifestyles in towns and cities. 
His books are organized in such a way that they make or 

invite people to recognize or see things that they hadn't even 
noticed before. In short, the paper movements in his books 
stimulate the imagination; help commit facts to memory and 
above all, extend our visual awareness of life beyond the 
world of his "most amazing books." 

Reprinted with permission from an article first published in 
Spring 2002 by Carousel, the Saturn Centre, 54-76 Bissell 
Street, Birmingham, B5 7HX United Kingdom. 

Bibliography of Robert Crowther's movable books 

The Most Amazing Hide-and-seek Alphabet Book. Viking 

Kestrel, 1978. 

The Most Amazing Hide-and-seek Counting Book. Kestrel 

Books/ Viking Press, 1981. 

The Most Amazing Hide-and-seek Opposites Book. Viking 

Kestrel, 1985. 

Robert Crowther's Pop Goes the Weasel! Walker Books, 

1987; Viking Kestrel, 1987. 

Robert Crowther's Pop-up Machines. Walker Books, 1988. 

Robert Crowther's Most Amazing Pop-up Book of 

Machines. Viking Kestrel, 1988. 

All the Fun of the Fair. Walker Books, 1991; Candlewick 

Press, 1992. 

Who Lives in the Garden? Walker Books, 1992; 

Candlewick Press, 1992. 

The mini most amazing hide-and-seek alphabet book. 

Viking, 1992. 

The mini most amazing hide-and-seek counting book. 

Viking, 1992. 

Animal Rap! Walker Books, 1993; Candlewick Press, 1993. 

Animal Snap! Walker Books, 1993; Candlewick Press, 


Robert Crowther's Pop-up Animal Alphabet. Walker Books 


The Most Amazing Night Book. Viking Children's 

Books/Penguin Books 1995. 

My Oxford Pop-up Surprise 123. Oxford University Press, 


My Oxford Pop-up Surprise ABC 1996. Oxford 

University Press, 1996. 

Tractors and Trucks. Candlewick Press, 1996. 

Dump Trucks and Diggers. Candlewick Press, 1996. 

Robert Crowther's Pop-up Olympics. Walker Books 1996; 

Candlewick Press, 1996. 

Robert Crowther's Deep Down Underground. Walker 

Books 1998; Candlewick Press, 1998. 

Robert Crowther's Amazing Pop-up House of Inventions. 

Walker Books 2000; Candlewick Press, 2000. 

Colours. Walker Books 2001; also Colors. Candlewick 

Press, 2001 

Football. Walker Books 2001; also Soccer. Candlewick 

Press, 2001. 

Julian Wehr Miscellanea: 

Unrecorded Animated Hankie Books, 

Activity Books, Italian-Language 

Animated Books, and Other Publications 

Dr. Alan Boehm 

Middle Tennessee State University 

Roy Ziegler 

Florida State University 

Although Julian Wehr, the great American children's 
book illustrator-animator, is celebrated for his innovative 
approach to the mechanics of the movable book (and for 
the appealing warmth of the illustrations he thereby 
animated), it is not widely known that Wehr's artistic 
activity extended to other kinds of books that are in no 
way animated or that have only a tenuous relationship to 
movable books. Many of these titles are obscure or 
forgotten, yet perhaps they should be better known, if not 
for their artistic merit, then for their place in the 
publishing record of a figure who can be regarded as one 
ofthemost important and influential movable book artists. 

Wehr's publishing record—insofar as it comprises 
animated and other movable books— is almost fully known, 
thanks to the compilations of Wehr's works provided by 
Ann R. Montanaro in her two bibliographies of pop-up 
and movable books, Pop-Up and Movable Books: A 
Bibliography and Pop-Up and Movable Books: A 
Bibliography: Supplement I, 1991-1997. The 
identification and tally of Wehr's animated publications 
has been slightly enlarged in our own brief article that in 
the May issue of Movable Stationery, which calls attention 
to a handful of Wehr editions that escaped Montanaro's 
notice. Along with the foreign-language editions we noted 
in that article, we include here a number of Italian- 
language editions that previously escaped our notice 
(Montanaro, of course, limited the editorial focus of her 
bibliographies to English-language books). Other editions 
of Wehr's animated books may very well be recorded in 
the future— among them, titles known to have been 
published in Europe but not yet identified. 

In addition to his work on animated books, Wehr also 
fashioned wood block illustrations for a calendar and for 
the first edition of the text of a highly successful Broadway 
play. He published at least four "hankie" books with single 
animations, although only two of these have been noted by 
Montanaro in her bibliographies. And he was to some 
extent involved in the design and illustration of two 
activity books for children. 

In what follows we provide a brief list of all books that 
we have come across since our previous Movable 
Stationery article and that contribute to our knowledge of 
Wehr's publishing record. Following the example of 

Montanaro's bibliographies, we give the source for each 
item listed and in several instances we provide an 
explanatory note for the book. Two items in particular— 
Peter Rabbit Hankies and Puss in Boots Hankies— are 
animated books published in 1950 that previously have not 
been noted in Montanaro's bibliographies and in our own 
work. Although we have sought to describe all the items 
listed as fully we possibly can, we should note that we have 
very little information on one or two of them. Our sources 
for the list include the Online Cataloging Library Center 
(OCLC); the Research Library Network (RLIN); the 
Smithsonian Institution; copies of books with Wehr's 
illustrations that have been acquired by Walker Library at 
Middle Tennessee State University; rare book dealers' online 
inventories; information provided by Michael Dawson, 
Helen Younger, Ann Montanaro, and Massimo Missiroli; 
and information provided by Wehr's son, Paul. 


Puss in Boots Hankies. Duenewald Printing 
Corporation, New York. 1950. One animation; printed 
handkerchiefs tucked into slots. 

Not recorded by Montanaro. This and the next item are 
no doubt similar to the two "hankie " books by Wehr that 
have been recorded by Montanaro, The Gingerbread Boy 
Hankies and Snow White Hankies, which were both 
published by Duenewald in 1950. Our only evidence for 
Puss in Boots Hankies is an eBay auction, which provided 
reliable bibliographic information. 

eBay auction 

Peter Rabbit Hankies. Duenewald Printing Corporation, 
New York. 1 950. One animation; two printed handkerchiefs 
tucked into slots. 

Not recorded by Montanaro. The hankie books are quite 
scarce and this one may be the scarcest of them all. 

Bookseller's catalog. 


Giacomino e il gigante [Jack and the Beanstalk]. 
Istituto Geografico de Agostini, Novara. 1951. 
Private collection. 

Gli animali viventi [Animated Animals]. Istituto 
Geografico de Agostini, Novara. 1949. 
Private collection. 

// gatto con gli stivali [Puss in Boots]. 
Geografico de Agostini, Novara. 1948. 
Private collection. 


L'acciarino Magico [The Tinder Box]. Istituto 
Geografico de Agostini, Novara. 195 1 . 
Private collection. 


Woodland Friends. Text by William Jerr. Capitol 
Publishing Company, New York. 1958. A "color and 
wipe" activity book originally packaged with a crayon and 
five punch-out animal figures. 

Private collection 

Graphic Design: A Library of Old and 'New Masters 
in the Graphic Arts. Text by Leon Friend and Joseph Hefter. 
McGraw-Hill. New York. 1936. Frontispiece. 

Bookseller's catalog. 


Dinosaurs. Text by Mary Patsuris. Capitol 
Publishing Company, New York. ca. late 1950s or early 
1 960s. Possibly a "color and wipe" activity book originally 
packaged with a crayon and punch-out figures. 

This book may resemble Woodland Friends—// 
the book was actually published. The U.S. Copyright 
Office informed Paul Wehr that it was submitted for 
copyright in 1958. We cannot locate a copy. 

Information provided by Paul Wehr 


Dance of Fire. Text by Lola Ridge. Harrison 
Smith and Robert Haas, New York. 1935. Dust jacket 

Middle Tennessee State University 

The Island. Text by Claire Spencer. William 
Harrison and Robert Haas, New York. 1935. 

This book may only have a dust jacket 
illustration by Wehr. 

Jungle Woman: The Amazing Experiences of 
Mrs. Frances Yeager. Text by Frances Yeager and Eli 
Colter. D. Appleton-Century Company, New York. 1935. 
Dust jacket illustration. 

Middle Tennessee State University 

The Royal Way. Text by Andre Malraux. 
Harrison Smith and Robert Haas, New York. 1935. 

This book may only have a dust jacket 
illustration by Wehr. 

The Willoughbys. Text by Alice Brown. D. 
Appleton-Century Company, New York. 1935. Dust 
jacket illustration. 

Middle Tennessee State University 

Dead End; A Play in Three Acts. Sidney 
Kingsley. Random House, New York. 1936. Dust jacket 
and three text illustrations. 

Dead End was a successful Broadway play. 
Among the cast was a group of young actors— the "Dead 
End Kids "—who later starred in a popular series of films 
in which they were known as the "Bowery Boys. " 

Middle Tennessee State University 

American Block Print Calendar [for] 1937. Gutenberg 
Publishing Company, Milwaukee. 1936. 

Wehr has a single woodcut in this calendar, "Hot 
Argument, " which appears for the week of July 11-17. The 
calendar as a whole consists of 52 prints. It may have been 
sponsored, supported, or in some other way associated with 
the federal government 's Works Project Administration. 

Smithsonian Institution, Archives of American Art, 
microfilm reel 2786. 

Mother Goose Nursery Prints. Perm Prints, New York, 
ca. 1940. 

A portfolio of 10 lithographs by Julian Wehr illustrating 
Mother Goose nursery rhymes. 
Bookseller's catalog 

Jumbo Jamboree. Grosset and Dunlap, New York, 
ca. 1949. 

Information about this book was given to Paul Wehr by 
the U.S. Copyright Office. We have not seen the book and 
we do not know to what extent, if any, Wehr was involved 
with its illustrations, design, or production. OCLC reports 
two copies, one at the Library of Congress and the other at 
Chicago Public Library. 

OCLC No. 18803256; information provided by Paul 

Editor's note: In the Middle Tennessee State University 
library catalog there are links to moving images of some of 
Julian Wehr's books. They are available at the following 

http://ulibnet.mtsu.edU/SC/5 1 63 1 0/5 1 63 1 0.htm 1 
http://ulibnet.mtsu.edU/SC/5 1 8480/5 1 8480.html 

"Gadzooks, Pages Alive!" 

Innovative handmade book structures by 

Ed Hutchins 

September 4 - October 18, 2002 

Park Row Gallery 

Chatham, New York 

www . artistbooks . com 

My favorite pop-up, continued from page 1 

So he replicated his "breakfast table, with a newspaper on 
it, a piece of cheese, a glass of milk, a pack of butter, a 
box of cereal, a can of biscuits, and, for some reason, a big 
red fish, as an additional surrealistic element, I guess. It 
was all dimensional and foldable, like a real pop-up book, 
an exact copy of my own daily breakfast table, except for 
the fish, of course." 

Upon submitting his pop-up "Breakfast Scene," his 
teacher considered it amusing, but his teacher "simply 
hated the art and the subject matter, which he thought 
were extremely 'tacky.' I thought it was absolutely funny 
to go through all the complexity of foldable paper 
constructions, just to end up with something so ordinary 
and 'tacky' as an everyday breakfast scene, something one 
doesn't usually pay any attention to." 

Kees adds: "By the way, my admiration for Haunted 
House came much later. Today, I believe it's the best 
pop-up book that's ever been made." 

In 1982, Carla and Kees both left art school and 
"decided to marry and make something out of our lives. 
With absolutely no money and no prospects, anything was 
possible. By the end of 1982 we decided to rework the 
'Breakfast Scene' into 'Picnic' We made new art for it, 
added some mice and bought ourselves a pair of tickets to 
the Frankfurt Buchmesse in 1983." Though they had 
made an appointment with Intervisual Communications 
(through a Dutch publisher), they arrived unexpected. 
(Intervisual apparently never received a phone call from 
their Dutch contact.) Wally Hunt though was kind enough 
to give them some time and took a look at their pop-up 

In its folded stage, 
"Picnic" had a size of 8 by 12 
inches. Kees explains: "But it 
had to be unfolded in a rather 
complicated way in order to 
get a 32 by 36-inch table- 
cloth, revealing all kinds of 
three-dimensional goodies, 
like a biscuit container, a big 
red fish, a tin of crabmeat, a 
transparent glass of milk, a 
piece of cheese, a piece of 
butter (with a butterfly) and 
several mice which, by a pull 
tab, could run and move their 
tails. Since their booth was so small and our "Picnic' was 
so big, we had to unfold it out in the corridor, causing a 
small traffic jam, and eliciting a lot of oohs and aahs from 
the passersby." 

Mock-up of unpublished 

"Picnic" by Kees 
Moerbeek & Carla Dijs 


Wally found the concept 
interesting enough to take 
"Picnic" back with him to Los 
Angeles and get it appraised. 
Kees continues: "Someone in 
Intervisual counted the total 
number of gluepoints and 
calculated the amount of paper 
needed for this project. We had 
never heard of gluepoints or 
nesting sheets before, so when 
Wally came back to us with the 
information that our book 
contained over 200 gluepoints 
and 4 sheets of cardboard we were not convinced. But we 
had to be." Kees remembers: "I believe the production cost 
for our 'Picnic' was estimated at $30 each, which would' ve 
translated into a $150 retail price." 

"Picnic" was far too expensive to produce and Wally 
asked them to simplify it. Kees recollects: "One of the major 
concessions he asked us to do was to change the concept into 
a regular book, with six spreads and a story about funny 
mice. Although we hated the idea, we did our best. Of 
course, it didn't work out. The power of our pop-up 'Picnic' 
was the absurdity and the inefficiency of it. First you had a 
bunch of cardboard, and the next moment you had a 
complete picnic scene. It was like magic!" 

Kees continues: "But we needed the money. Our first 
daughter Liza was born, so we decided to go for less, and 
simplified the book. 'Picnic' changed into a tale about three 
mice having fun on a picnic cloth. Then it was revised into 
a story about a cookie factory run by a mole and his three 
assistant mice. We made compromise after compromise, and 
eventually ended up with nothing. I even had to give the idea 
away to a British illustrator who was very popular in the 
'80s. Together with the original concept our names dissolved 
into thin air. By the way, the book was never published. I 
have though a show dummy on my bookshelf, to keep me 

After that excruciating experience, from then on Kees 
and Carla decided to consider all the technical limitations in 
their designs. Kees recalls: "We took into account the 
amount of gluepoints, nesting sheets and the necessity for 
'recognizable' books." And thus the ground rules for the 
creation of my favorite pop-up book were laid out. But first, 
my "delightful obsession." 

I was about 7 years old when I first tried "Klim," a 
powdered milk drink imported then from Europe (the 
Netherlands?). I wasn't impressed by its so-called smooth, 
buttery taste but the brand name was a fascinating find. 
"Klim" was "milk" spelled backwards, and my quest for all 
things reversible began. Imagine my excitement when I 

UpSide-Down Dual Images 

would realize that "Serutan" (yes, the laxative) was 
"natures" in reverse. (I would learn much later that this 
word oddity was called a "reversal pair," e.g. 
stressed=desserts, a first cousin of the palindrome.) 
The 1950s must have been a perfect time to start my 

Events around 
the world, 
unknown to 
me then, 
would later 
have a 
wonder ful 
impact on my 
During that 
decade, Carla 
Dijs and Kees 
were born (on December 14, 1954 and April 10, 1955, to 
be exact); and a Dr. Yuen Ren Chao [1892-1982] joined 
the faculty of the University of California at Berkeley. 

My list of words grew longer through the years and my 
collection of things reversible would take on other 
dimensions as well, aurally, musically and visually. 
Professor Chao, who headed the department of Chinese 
linguistics at Berkeley, would often amuse his fellow 
faculty members with his occasional displays of 
phonetically accurate backward speech — in English! 
Among the professor's collection of phonetic palindromes 
were babe, cease, church, George, known, sauce and 
shush. (Some phonetically reversible word pairs, e.g. 
arts-star, but-tub, cinema-ominous, eat-tea, loin-nil and 
we-you, would later augment my collection.) 

After the phonetic palindromes, came the musical 
reversibles. "Allegro" (an anonymous composition 
originally attributed to Wolfgang Amadeus Mozart 
[1756-1791]) is an example of invertible "table music," a 
musical piece meant to be laid on a table between 
duo-violinists, one reading from each end. The music 
sheet for "The Way of the World" (by German-Bohemian 
Ignace [Ignaz] Moscheles [1794-1870]) reads the same 
way downside up. 

During the '60s, the "backward-masking" trend in 
music began. John Lennon [1940-1980], the 
experimentally-inclined member of the Fab Four, recorded 
some "reversible" music while he was still with the 
Beatles. One can hear Mr. Lennon singing backwards at 
the end of "Rain" (1966); while "Because" (1969) was 
supposedly based on reversed passages of Ludwig van 
Beethoven's [1770-1827] "Moonlight Piano Sonata" 

Scott Kim's 
"Upside Down" (1981) 

While browsing through a Berkeley bookstore in 1981, I 
chanced upon a book that introduced me to the visual 
reversible. Inversions (1981) by Scott Kim contained a 
collection of "calligraphic cartwheels," words and names 
that read the same when turned 1 80 degrees. (Eleven years 
later, Wordplay by John Langdon, likewise a book on 
typographic palindromes or "ambigrams," would be 

John Langdon's 
"Reversal" (1992) 

According to "mathemagician" Martin Gardner [1914- ], 
the earliest "ambigrams" [a term coined by Douglas R 
Hofstadter, author of Ambigrammi (1987)] were found "on 
a page of The Strand, a British monthly, Volume 36, 1908, 
page 1 1 7, where "chump," "honey," and the signature of W. 
H. Hill are so scripted that they are the same upside-down." 
(Should that be "W. E. Hill" and not "W. H. Hill"?) 

On page 1 1 of the 
November 6, 1915 issue 
of Puck magazine is a 
drawing created by W. 
E. Hill called "My Wife 
and My Mother-in- 
Law," an ambiguous 
image that could be 
interpreted two ways, as 
a beautiful young lady or 
a withered old woman. This pictographic ambiguity was 
apparently patterned after an old German postcard (ca. 1 888) 
and this discovery led me to other visual ambiguities, the 
"upside-down" in particular. Popular since the early 19th 
century, these upside-down dual images were often found on 
matchboxes and postcards. The viewer would see a different 
face by simply turning the drawing 180 degrees. 

My Wife and my 

Peter Newell's "Dog-Cat" 

I've discovered a few more pictographic reversibles. In 
1893, Peter (Sheaf) Newell's [1862-1924] ingenious and 
unique book of reversible drawings called Topsys & 
Turvys was published. The sequel, Topsys and 
Turvys-Number 2, appeared a year later. During the 
1920s, artist George Carlson [ 1 887-1962] who illustrated 
the original dust jacket for Gone with the Wind (1936) 
contributed dozens of upside-down pictures to John 
Martin's Book, a children's monthly edited by Morgan 
van Roorbach Shepard [1865-1947]. 

Rex [Reginald] J. Whistler's [1905-1944] collection of 
upside-down portraits originally commissioned by Shell 
was posthumously released as a book, IOHOI ( 1 946), with 
accompanying verses from his brother Lawrence. And 
finally, there's Ann Jonas' long-format reversible called 
Round Trip (1983) wherein, after reaching the last page, 
the reader turns the book 1 80 degrees then makes his way 
back to the first page. This volume was followed by 
Reflections (1987) which employed the same concept. 

But my collection of reversibles needed a centerpiece. 
I had reversal pairs; phonetic and musical palindromes; 
calligraphic cartwheels; and upside-down pictures and 
storybooks. Surely there must be a three-dimensional 
reversible somewhere out there. And so the search began. 

Shigeo Fukuda's Duet 

So far, I've only come across three (3) examples. The 
first is a piece of pottery created by the Weller Company 
[1872-1948] based on the ambiguous "Duck/Rabbit" 
image. The second is a three-dimensional sculpture by 
graphic designer Shigeo Fukuda [1932- ] called "Duet" 
which transforms from a pianist to a violinist as one 
moves around it. And the third is Kees Moerbeek and 
Carla Dijs' innovative Hot Pursuit: A 
Forward-and- Backward Pop-up Book, with four (4) 
spreads that can be viewed from two different angles, 
resulting in eight (8) different three-dimensional images. 
While I've only read about the Duck/Rabbit pottery and 
seen pictures of "Duet," I do have Hoi Pursuit, the crown 


jewel of both my 
reversible collection and 
movable book 

Duck/Rabbit image 

Ambiguous " Duck/Rabbit' 1 

I've always wanted 
to write a glowing 
review about this 
movable masterpiece, a 
book that has "an 
approximate grade 4 reading level," a book that teaches 
children the concept of "infinity," but I was afraid to fall into 

what I call the "Un 
Homme et Une 
Femme" trap. When 
the said French film 
was released in 1966, 
auteurists fell over 
themselves, trying to 
find the hidden 
meaning, the 
subtextual purpose, the 
possible motivation 
behind the director's 
decision to shoot some 
scenes in color, others in black-and-white. Years after the 
movie won the Oscar for Best Foreign Language Film, 
Claude Lelouch [1937- ] admitted in an interview that he 
had run short of money halfway through production, and 
couldn't afford color film stock! 

I was tempted to write that the creators of this reversible 
movable were influenced by the work of Gustave Verbeck 
[1867-1937] who, from 1903 to 1905, devised a magical 
world on the Sunday pages of the New York Herald. For 64 
weeks, Mr. Verbeck drew a twelve-panel comic strip using 
only six panels of art! Called "The Upside Downs of Little 
Lady Lovekins and Old Man Muffaroo," the series had to be 
read first rightside-up, then turned over and read 
upside-down, with every panel making sequential sense in 
both directions. This was made possible because the main 
characters, Lovekins and Muffaroo, could be one or the other 
when given a 180-degree turn. 

Gustave Verbeck 
(who changed his name 
to "Verbeek," the form 
of spelling used by his 
grandfather, Carl 
Heinrich Verbeek of 
Zeist, the Netherlands) 
was born in Nagasaki, 
Japan. Given the fact his 
art education began in 
the land of his birth, it 

* B'^ 




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. uulsiw] 

. ■ ._. ha A m*li 

-■"' l - ' 

Verbeck's "The Upside Downs 
of Little Lady Lovekins and 
Old Man Muffaroo" 


wouldn 't be too far-fetched to assume that he was inspired 
by the reversible faces on Japanese woodblock prints he 
might have seen as a child. 

It wouldn't be a stretch either to surmise that Hot 
Pursuit was likewise inspired by Mr. Verbeek's "Upside 
Downs," given the Dutch connection. It would've been a 
compelling and believable story to tell. But what if this 
wonderful pop-up book was a product of something else, 
perhaps a shortage of paper, just like Mr. Lelouch's 
shortage of funds and color film? After all, Mr. Verbeek's 
reversible strip was likewise a result of a shortage, a lack 
of space. Mr. Verbeek felt that the half-a-page allotment 
wasn't enough, hence decided to utilize his six panels in 
a unique manner. 

So I asked Kees for the real deal. And am I glad I did. 
Kees reveals: "I am familiar with the beautiful works of 
Gustave Verbeek. After Hot Pursuit had been published, 

somebody gave me a book 
called The Incredible 
Upside-Downers, issued by 
the Real Free Press, 
Amsterdam in 1973. He 
gave me the book because 
he felt it had something to 
do with Hot Pursuit and 
thought I would be 
interested in seeing it. 
Maybe it would have had an 
influence on the designing 
of the concept if we had 
seen it, but we were not 
aware of its existence while 
designing Hot Pursuit.'''' 

Whew! I almost fell into the "Un Homme et Une 
Femme" trap. What follows is the true story behind my 
favorite pop-up book, as told by Kees Moerbeek. 

"The price of a pop-up book is mainly based on the 
amount of gluepoints and the amount of paper it is printed 
on. An average pop-up book has about 60 gluepoints and 
uses from 1 (one) to 1.5 (one-and-a-half) sheets of 220 
grs. cardboard. Each sheet (34.5 by 48 inches) has to 
contain all the pages of the book and all the dimensional 
pieces. Everything has to fit very closely on the sheets, 
almost like a jigsaw puzzle, with no more than a 5mm 
space between the pieces. These sheets are called nesting 
sheets. The less gluepoints the book has, the less 
hand-labor is involved, obviously. 

"When designing a pop-up book, the paper engineer is 
constrained by the limitations of gluepoints and nesting 
sheets. The challenge is to get as 'much' book as possible 
out of a nesting sheet. The bigger the book (that is, the 

more paper is used for the pages), the less spectacular the 
dimensionals will be since there won't be enough paper left. 
The more spectacular the pop-ups, the less one will have for 
the pages, and the smaller the book will become. Publishers 
are hesitant to sell a small book for a high price, while 
buyers won't buy a big book with miniscule pop-ups. A 
paper-engineer has to make a compromise between those 
two facts. 

"When we started Hot Pursuit in 1984 we had to deal 
with the limitation of paper. We only could use half a sheet 
size (which is 24 by 34.5 inches) and only 40 gluepoints. We 
were absolute beginners and happy to get any amount of 
paper for a book to be possibly published. 

"First, we divided 34.5 by three and got the width of 
the 'spreads' (a pop-up book generally has six scenes which 
are called 'spreads'), which was 11.5 inches; and since a 
spread is two pages, the page width became 5% inches. For 
the height, we divided 24 by three and got 8 inches. With 
that, we had defined the trim size of the book, it would be 
5 3 /4 by 8 inches. 

"With a six-spread book we would only have 34.5 by 8 
inches left for the pop-ups, which divided by 6 scenes would 
give us about 8 by 5.5 inches per spread, which was 
practically nothing. 

"We needed more paper for the pop-ups. The only 
possibility was to reduce the number of spreads from 6 to 5 
or, even better, to 4 and use the gained paper for the 
pop-ups. But how does one tell a story in only 4 spreads? 

"And then it hit us. 
Would it be possible to 
design a book with 
dimensional scenes that 
could be viewed from 
two sides, front and 
back? Instead of 4 
scenes we would get 8 
scenes, which would 
mean an additional 2 
scenes more than the 
usual 6 in other books. 

Mock-up of Detective 

"We played around 
with several options and 
decided to go for 8 
different appealing 
characters. The four (4) 
pairs were a Detective 
(front) and a Witch 
(back); a Frog (front) 
and a Broken-Down 
Robot (back); a Crazy 

Mock-up of Indian 


Mock-up of Witch 

Bird (front), and an Indian (back); and a Black Cat (front) 
and a Beautiful Princess (back). We also planned two 
covers for the book, one showed a Weird Scientist and the 
other a Sneaky Robber. The working title for this book 
was Back to Back. (I hoped the two covers would 
stimulate sales since unsuspecting buyers would buy two 
books instead of one.) 

"The simple story 
actually started ON 
the cover, with the 
weird scientist 
saying: T'm looking 
for a Broken- Down 
Robot. Have you seen 
him?' Upon opening 
the book, one would 
see the Private 
Detective saying: 
T'm looking for a Sneaky Robber. Have you seen him?' 
and so on. The Frog (actually the ex-prince after the 
Witch used her magical powers on him) was looking for 
the Princess, the Cat for the Bird, the Bird for the Indian 
(because of the feathers), the Indian for the Detective, the 
Robot for the Scientist, the Witch for her Cat, and the 
Sneaky Robber (on the other cover) for nobody. A rather 
confusing quest, I must admit. 

"Wally Hunt found it quite confusing, too; and he 
didn't think the two-cover approach would increase the 
sales of the book, so we lost the Scientist and the Robber. 
He also believed the Detective didn't belong in a kid's 
world, and the inclusion of the Indian, in this specific 
context, might be offensive to some people. Wally also 
disapproved of the Robot (I've already forgotten the 
reason why he didn't like him). So we were left with the 
Witch, the Frog, the Princess, the Bird and the Cat. We 
decided to go for a Fairytale approach and added the 
Knight, the Dragon and the Troll. Pete Seymour rewrote 
the text for this book and came up with a new title: Hot 

"In 1986, when the 
book was in its final 
design stages, Carla and I 
were great admirers of the 
works of the French artist 
Henri Matisse, especially 
his 'paper cuts' 
(pre-painted sheets of 
cut-paper) which he made 
at the end of his life. 
You'll recognize the 

elements we've used from his famous work 'The 
Sorrowers of the King' (1952). For years we had a copy of 
this 'gouache on paper-decoupe' in our studio-living 
room. 'This was the first book in which we used the 

Henri Matisse's "The 
Sorrow of the King" 

airbrush as medium. It's amazingly primitive when I look 
back at it now, but we did our utmost. Before we used a 
computer, we always worked using this routine. I'd design 
the mechanics in rough; Carla and I would discuss these; 
and based on those discussions, I'd refine the mechanics and 
add the rough backgrounds in pencil. If we liked what we 
had, I'd take the roughs apart and photocopy everything. 

"Carla would use these photocopies to design the colors, 
using markers and color pencils. For every spread, she'd 
make several designs. We'd then put everything on the floor 
and pick out the color-designs we like the best. With the set 
of 'favorites,' I'd start the airbrush sessions, constantly 
comparing the airbrush art with Carta's color designs, until 
everything is to our satisfaction. 

"And always, the evening before the work is ready to be 
sent out, we spread everything out on the floor, pour 
ourselves a glass of wine and discuss (and admire) the work 
we've done." 

In 1987, Kees and Carla's first published dimensional 
book, Hot Pursuit, was finally issued in the US by Price, 
Stern and Sloan, Los Angeles; as a soft cover edition in 
Canada by Willowisp Press; as L'inseguimento in Italy by 
Rizzoli; and as Persecucion Feroz in Spain by Editorial 

Surprisingly, the creator of the book laments that he has 
"never seen the American edition of Hot Pursuit. I guess 
Intervisual forgot to send me some samples of this book." I 
remind Kees that he has indeed seen the American edition 
— my copy which I asked him and Carla to sign in New 
York in September 2000! According to Kees, based on "the 
very first royalty report that Intervisual had sent me in 1 987, 
the book has (likewise) been published by Collins, both in 
Australia and Canada, but I've never seen those books 

According to the same royalty report, the total quantity 
of Hot Pursuit printed was 156,000. Kees adds: "That's a lot 
compared to today's standards. Nowadays this would be 
called a major success, but in 1986 it was deemed a flop. 
None of the publishers re-ordered this book, so it died an 
early death." Is there justice in this world?! 

Truly an inspiring story about how this "flop" of a pop-up 
book was made. A story about ingenuity and creativity; about 
determination and a lot of patience. A story that proves that 
necessity is indeed the mother of invention. A story about 
how paper restrictions obligated two first-timers to think out 
of the box, driving them to search for an elegant solution. 
Just like Gustave Verbeek's limited space predicament and 
his wonderful "Upside Downs" solution 80 years earlier. 
Great minds do think alike. 


After Hot Pursuit, Kees and Carla went on to re-invent 
other book formats, the shape book and the slice book, in 
particular. I was surprised to learn that their succeeding 
innovative pop-ups were likewise the result of the 
"limitation of paper and gluepoints." Kees reveals: "While 
Hot Pursuit was our first attempt to solve this problem, Six 
Brave Explorers (1988) was the second one and Have You 
Seen A Pog? (1988) was the third." 

Kees explains further: "The triangular shape of Six 
Brave Explorers was another way we solved the nesting 
sheet problem. By using only half a book (a triangle is half 
a rectangle), we gained a lot of paper for the pop-ups. As 
an added bonus, people are tricked by the size of a 
triangular book since it looks much bigger than it really is. 
In Have You Seen A Pog? I divided the pages into two 
halves and instead of five different animals we got 25 
different animals. This was another approach to get 'more 
book' out of one sheet." 

I ask Kees if he and Carla have any plans for a 
follow-up to Hot Pursuit. After all, Six Brave Explorers 
had four triangular "sequels" (including The First 
Christmas from 2001); and Have You Seen A Pog? had 
three. It goes without saying that my favorite pop-up book 
desperately needs a companion piece. Kees replies: "We're 
still considering a similar book, a two-sided book that will 
keep you running in circles. We do have some ideas in 
mind, which might work. Time will tell..." 

As a courtesy, I sent Kees and Carla a copy of the first 
draft of my article last November 1, 2001. While putting 
the final touches on this write-up, I received a series of 
messages from Kees spread over a period of six months. 
The first note, dated November 4, 200 1 , read: "Inspired by 
your article, we're seriously thinking of a new book based 
on the same concept. Right after I've finished the book 
I'm working on right now, I'll probably start working on 
this new multi-dimensional challenge." 

Three weeks later, the second note, dated November 
25, 2001, arrived: "As I already told you, I'm working 
now on a sequel to Hot Pursuit. I hope to finish the show 
dummy within two weeks from now. I'm experimenting 
with a completely new (upside-downside visible) computer 
art. It looks promising. I'll keep you posted on the 

Two months later, on January 22, 2002, Kees wrote: "I 
promised you some time ago to keep you posted on the 
progress of my new turn-around pop-up book. Well, I've 
made a brand new show dummy: again a four spread book 
with eight big dimensional heads and I called it... Back To 
Back (for sentimental reasons, of course). The shape of the 
book, however, is hexangular, shaped around a circle. The 
title is written in a circle, so it reads like Back to Back to 

Bach to Back covers 

Back to Back to., and so on. To me it's BACK to Back to 
Back, as in returning to.... back to back." 

Kees continued: 
"I've put lots of 
turnable elements in 
the background this 
time, like portraits 
which can be viewed 
in two directions (as 
Gustave Verbeek did 
in his book) and I 
used interlocking 
elements (as M.C. 
Escher used in his 
graphics) The dimensions are much more effective than in 
Hot Pursuit, and the text makes sense in every possible 
'read-' direction. It's been great fun working on this book 
and I sincerely hope a publisher will pick it up and carry it 
out. I've sent the book out just before the end of the year, so 
it's far too early to expect any reaction from any publisher, 
but as soon as I have any news from that side, I'll let you 

Nine days later, on January 31, 2002, Kees sent me some 
"images from the book" but requested me to keep these 
"confidential" since "it might damage the difficult procedure 
of getting the interest of a publisher" should these visuals 
leak out. 

Three months later, on April 25, 2002, 1 received this 
note from Kees: "No News is Good News! Of course this is 
a stupid expression and I don't know who invented that, but 
it probably was an extremely naive optimist to say the least. 
Since my last e-mail to you I haven't heard a word on Back 
To Back," which is really too bad. I guess the book still is at 
the publisher and probably they don't know what to do with 
it. It doesn't mean anything promising, I'm afraid. But as I 
am an extremely naive optimist myself I still have 
confidence in this book and good hopes it will be published 
one day. As you will know I have waited 20 years to get 
Rolypoly published, so what's three months compared to 

Will my favorite pop-up book's future companion piece 
ever be published? Must we wait for another 20 years before 
a publisher recognizes the commercial viability of Back To 
Back. Since how this story will turn out is still a puzzle, 
allow me to conclude 
with the last plate of 
Peter S. Newell's 
Topsys & Turvys from 
1893. Who knows? 
We may just have a 
happy ending sooner 
than we all think. 
(Re-movable) illustrations, 
continued from page 4 




to show the essential scenes of the stories, and - apart of 
illustrating the text - they prove to be a good help for the 
child both to memorize the contents of the book once the 
stories have been read, and to give the opportunity to retel I 
the story with the use of just the pictures placed before 
him on his desk! And after they can be safely stored again 
in the slits of the blank pages. Isn't it a great idea! The 
way of illustrating was intended also as an educational 
help to practice both training of the child's memory skills 
and his verbal expression. Besides the child got a (paper) 
toy that brought an extra activity in reading and also could 
stimulate his imagination. 

Similar children's books 

In the 1830s the Paris publisher Letaille did some nine 
different titles of this kind and proved to be the most 
important publisher of them though there were a couple of 
other publishers that did some too. As said, this way of 
illustrating children's books was not new. The earlier 
paper doll books published by Fuller (in which the child 
had to clothe the doll in the appropriate clothes to match 
the chapter), and the books with loose cards with slits in 
which small pictures had to be inserted to get the 
appropriate illustration to the read story, both removable 
pictures. New was the way the pictures got integrated in 
the right place in the book (both other kinds had special 
envelopes to store all illustrations), and the well- 
considered key scenes of the story that were illustrated. 
Innovative also was the fact that the pictures came cut, 
whereas the earlier books had accompanying printed 
sheets that still had to be cut out by the children 

Regarding the contents of the booklets, Letaille's 
known production can be divided into two groups. A first 
group of five books had versions of "classical" stories 
adapted for children. Except for Swift's Voyages de 
Gulliver Letaille brought similar editions of Histoire 
d'Aladdin, Defoe's Robinson Crusoe (in two volumes), 
Bernardin de Saint Pierre's Paul et Virginie'' and another 
story from the Thousand and One Nights: Histoire d'Ali 
Baba. They had a lithographed and hand-colored 

frontispiece that is repeated on the front cover, and seven, 
eight, or nine, numbered and removable illustrations 
(Robinson had eight for every volume) of which the 
numbering sometimes starts with number two since the 
frontispiece is considered to be number one. The foreword of 
Robinson Crusoe states that the adaptation of the story has 
been done "after the indications of Jean -Jacques Rousseau," 
placing the book(s) clearly in the tradition of the demands of 
the "rationalistic" pedagogy of 1 8th century Enlightenment. 

The second group consists of four educational 
"encyclopedic" titles, following another demand on 
children's books of the enlightened pedagogues. There is an 
Histoire de France in two volumes, with 15 cut-out 
removable illustrations (numbered 1-17 since it includes the 
two frontispieces) and stories about the French history taken 
from the children's books of well-known French children's 
authors from the first quarter of the 19th century such as De 
Barante, Thierry, Guizot, and others. Next a Revue de 
I'Univers, again in two volumes, with together 14 cut-out 
pictures and offering "a picturesque description of heaven, 
earth and the peoples that inhabit them" (for example 
beautiful cut-outs of people in the national costumes of 
Spain, Italy, Switzerland, Germany and Holland; but also a 
cut-out of a diagram of the hemisphere); this seems to be the 
only volume that was reprinted by Letaille, with the slightly 
different title of Revue Pittoresque de I 'Univers and having 
only 10 cut-outs. Followed by a one-volume Histoire des 
Voyages (History of Travels); and finally an Histoire 
Naturelle, again in one volume. The six volumes of these 
four titles came also on the market as a mini-library with the 
title Bibliotheque du Jeune Age (Library of the Young), 
contained in a cardboard box, the pictured front of which 
gives the illusion of a glazed bookcase. The box contains 
also four small cardboard portfolios of the same 
measurements as the booklets, hiding envelopes with the 
cut-out pictures of the four titles - here also completely 
removed from the individual books. I don't know for sure if 
the five parts of the first group, the "classical" stories, have 
also been available as a mini-library. A copy ofAventures de 
Robinson Crusoe that I have seen, showing on its title page 
an extra "Bibliotheque du jeune age" gives that suggestion. 

All the books were printed, both the text and the 
lithographs, by A. Rene & Cie at their Paris premises in the 
Rue de Seine (Saint-Germain), at number 32. Reprints of 
some of the Letaille books are known from the early 1840s, 
published by Letaille's successor Gautier {Paul et Virginie 
and - in 1 842 - a third edition of Histoire de France) and by 
Aubert (Aventures de Robinson Crusoe and Histoire de 
France), both from Paris. 

Effectively there are only two other publishers known 
that also did original titles of this kind of children's books 
with removable pictures. The first one was the Paris 
publisher D. Eymery who published at the same time 


(second half of the 1830s) two titles: Modele des Jeunes 
Filles written by A.E. Desaintes, with 6 cut-out, hand- 
colored pictures in lithography that can be removed from 
the pages; and Curiosites des Trois Regnes de la Nature 
by Cortambert, also with 6 pictures and with a 
Bibliotheque d'Education added to the name of the 
publisher. Remarkable to both books is that the printer 
proves to be the same A. Rene & Cie in the Rue de la 

The second publisher coming onto the market with a 
similar book, was H.F. Muller from Vienna, known from 
about 1810 onwards for all kinds of paper toys and 
novelties for children, amongst them the first real pop-up 
books as published in the 1830s. He published 
Gemeinfassliche kurze Darstellung aller Lander und 
Volker der Erde (Comprehensive short Presentation of all 
Countries and Peoples of the Earth) by F.C. Weidmann, 
accompanied by 12 hand-colored cut-out pictures of 
panoramic views, costumes, dances, a bull fight, etc. A 
beautiful booklet in the best tradition of the educational 
encyclopedic children's books characteristic for the time. 
As rare and valuable as all books of this kind are - 
especially when there are (all) cut-outs present. 

Charles Letaille 

Who was this man who apparently invented, at least 
specialized in the children's book with this specific kind 
of removable pictures? Again, the handbooks and 
bibliographies of historical (French) children's books 
known to me don't provide any information at all about 
him. The recently published Dictionaire des illustrateurs 
de livres d'enfants et d'ouvrages pour la jeunesse 
(Dictionary of illustrators of Books for Children and 
Youth) mentions Letaille with only one title, the Gautier- 
reprint of Paul et Virginie, but the authors give just "?? - 
??" for the dates of his birth and death. 4 From my own 
research so far I can tell he was the son of A.S. Letaille 
(sometimes found as Le Taille), a publisher who had his 
own publishing company together with Auguste Legrand, 
a name well known from various novelty books for 
children in the 1810s and 1820s, amongst them the 
French editions of Fuller's puppet books. The young 
Charles will have known also, even maybe played himself 
with these predecessors of movable books as published by 
his father's associate. 

No wonder the earliest title we found illustrated by 
Charles Letaille is a novelty book. For the second edition 
of Les Contes de Fees mis en action (Fairy Tales in 
Action) published in Paris by Pintard in the 1820s, 
Letaille made the new illustrations - using lithography. 
The first edition - at another publisher - came in 1 820 and 
had been illustrated by engravings, typical of the time. 
Apparently Charles was one of the very early 

lithographers in France, knowing this new technique of 
planography first used for book illustration in those days. He 
also was an illustrator, for, as we saw from the example of 
Gulliver above, he was not only the one who drew the 
pictures on the stone, but he also designed the pictures 
himself. The illustrations for this booklet are of the kind 
mentioned above as having two "base-cards" (one an 
interior, one an outside scene) that function as backgrounds 
and in the little slits of which must be inserted small cut-out 
pictures to make an appropriate illustration to one of the 
stories of the book (here: Little Red Riding Hood, Riquet a 
la Houppe and Tom Thumb)? 

Also from the 1820s are two other novelty books 
"designed and drawn by Charles Letaille" and published 
again by Pintard: Eduard, ou le Petit Agriculteur (Edward, 
or the little farmer) and Stephanie, ou la Petite Jardiniere 
(Stephanie, or the little gardener). Both small booklets 
(145x1 10 mm.) have an envelope pasted in the inside of the 
backcover containing an instruction card, four shaped scenes 
slotted to take the figure of the (male) farmer or the (female) 
gardener with moving arms, and other farmers or gardeners 
fittings, all done in hand-colored lithography. Apparently a 
first book with the removable illustrations as described in 
this article, Aventures de Robinson Crusoe 3, was still 
published by Pintard since we found an edition with their 
imprint recorded in Saint Albin. 6 

Somewhere in the mid- 1830s however, Charles Letaille 
had the opportunity to take over the Pintard business and 
started to publish children's books under his own imprint, 
with the added "Ancienne Maison Pintard" (Former 
publishing house of Pintard). 7 Within the few years that he 
appears to have been active as a publisher, he published all 
mentioned titles with the removable pictures. Probably in 
1840 or 1841 the company finished its activities. It is 
unclear to me why. Was Letaille bankrupt? The absence of 
available reprints of the studied booklets could be an 
indication of a failing success of his speciality. Or did he die 
in this period? It is remarkable that we have not found any 
book with illustrations by Charles Letaille after that date. 
Sure is the fact that Gautier Freres (Brothers Gautier) from 
at last 1 842 added the "Ancienne Maison Pintard" to their 
company's name, and brought some reprints of the booklets 
of Letaille as we already mentioned. 

One hundred years later... 

As said, Letaille did hardly any reprint of the booklets 
and also the firms that apparently took over the titles after 
Letaille finished business, did just a few. The fact that the 
books are now very rare can also be an indication of a rather 
small number of copies printed. We think this is an 
indication of a lack of success for the formula. We also were 
unable to trace any later imitations of this peculiar kind of 
illustration in the 19 th century. The only known book with 


this kind of removable illustrations - to be taken out of the 
book and placed on the desk whilst reading the text - was 
published only one hundred years later. In 1933 Hodder 
and Stoughton Ltd. from London published Velvet Paws 
and Shiny Eyes by Carol Cassidy Cole, illustrated in line 
throughout by Dudley Ward and with "Toy Pictures" by 
Leo Stead. As the small booklets from the 1830s 
represented the usual measurements of children's books of 
the time, this book also looks representative of the 
children's books of the Interbellum: a sturdy book of 232 
pages, measuring 2 15x1 70 mm. and 5 5 (!)mm. thick. The 
story tells the adventures of a little boy in "Nature's 
Wonderland among Furry Friends and Feathery." As a 
frontispiece there is now a brightly colored thin card 
model of the little boy, set on a base, which fits into a 
captioned pocket. Another seven of the 27 chapters of the 
book are preceded by a blank page with a small paste-on 
pocket containing seven shaped animals (frog, squirrel, 
skunk and hare) or birds (owl, duck and woodpecker) that 
can be taken out to place apart from the book, using the 
strips pasted at the backside for a stand. 

A wonderful British re-invention of the books with 
removable illustrations, probably without any knowledge 
about its French (and one Austrian) predecessors. And 
surely without the delicacy and refinement of these little 
gems from the period known in the UK as "Regency," on 
the continent as "Biedermeier." 


' Movable Stationery volume 10, number 1 (February, 
2002), p. 17. 

2 See her website: 

3 A copy of this book with the seven detachable figures is 
offered nowadays by heritage Bookshop, calling it an 
"decoupage book." See their website. 

4 An appendix in: Jean-Marie Embs and Philippe Mellot, 
Le siecle a" or du livre d' enfant s et de jeunesse 1840- 
1940. Paris, Les editions de ('Amateur, 2000, pp. 241- 
281. Maybe they didn't include the earlier works of 
Letaille since the book deals specifically with the period 
from 1840 onwards. 

5 A similar book was pictures in catalog 60 of Aleph Bet 
Books under number 209. 

6 Jacques de Saint- Albin, Livres a transformations parus 
en langue franqais, classes selon les procedes. In: 
Nom'elle de I'Estampe 6 (1968), 226, where this edition 
wrongly is described as a reprint. 

7 "Pintard Jeune" (Pintard junior) was still active as a 
publisher in 1 834, so it seems not likely that Letaille could 
add the "Ancienne Maison Pintard" then already. 


Will Be In 


Well, not really. But his presence will surely be felt 
Courtesy of Ellen Rubin who will share with us her extensive 
interviews with the Czech pop-up master's daughter in 
Canada. Just one of the highlights of the 4th Movable Book 
Society Conference this coming fall. 

From the time you Czech in. er, check in at the Wyndham 
Milwaukee Center Hotel 'til you check out, it'll be three days 
of movable feasts, friends and fun. Be there. 



SEPTEMBER 19 - 21, 2002 

Pop-up Exhibits in Los Angeles 

The Los Angeles Public- 
Library has two exhibits of 
pop-up books on display 
through January 12, 2003. 
The first, "Pop Up: 500 
Years of Movable Books," 
features more than 300 books 
from Wally Hunt's 
collection. Highlights from 
the exhibit range from a 16 lh 
century Italian cosmography 
and a 1860s Punch and Judy 
show to a copy of Haunted 
House and Andy Warhol s Index (Book). "Leaping Off the 
Page: Building Pop-up Books" is a step-by-step look at 
how pop-up books are designed, engineered, and 
produced. It features the work of David Carter, Jan 
Pierikowski , Robert Sabuda, and Ron van der Meer. 

The Book of Greek Myths Pop-up Board Games. Tango 


If I were a Polar Bear. Piggy Toes Press. 

Little Red Riding Hood. Little Simon. 

Mighty Machines. The Book Company. 

Monster Train. Orchard Books. 

The Moon Book. Universe Publications. 

Nursery Rhymes Roly Poly. Child's Play. 

A Piece of Cake. Handprint Books. 

Ruby, the Ballet Star. Tango Books. 

Sad Doogy. Piggy Toes Press. 

The Secret of Three Butterpillars. Workman. 

The Pop-up Book of Spacecraft. KIBEA Publications. 

The Spooky Scrapbook. Little Simon. 

The Tickle Book with Pop-up Surprises. Macmillan 

Children's Books. 

Vroom! Vrooml A Pop Race to the Finish. Little Brown. 

Wakey Wakey, Night Night. Scholastic Books. 

When I Grow Up. Grosset & Dunlap. 

Who Will You Meet on Scary Street? Templar. 

The Wonderful Wizard of Oz. Little Simon. 

In conjunction with the exhibits, the Los Angeles 
Library Children's Reading Club is using "Pop Up for 
Reading" as the theme for their year-long reading 
program that encourages children to read and learn 
through events, incentives, and fun. 

Meggendorfer Prize 

The biennial Movable Book Society Conference will 
close with a dinner Saturday, September 21 at the 
Wyndham Milwaukee Center Hotel where the winner of 
this year's Meggendorfer Prize will be announced. The 
Prize, named in honor of Lothar Meggendorfer 
(1847-1925), acknowledged as the world's most 
innovative paper engineer, was established by the Society 
in 1998 to recognize the best pop-up or movable book. 
Conference attendees will choose from a vetted list of 
titles published in 2000 and 2001. 

The following books are being considered for the 
prize. Members who would like to add other titles for 
consideration may send pop-up or movable books titles 
published in the years 2000 or 2001 to the editor by 
Friday, September 13, 2002. 

The Baboom s Bottom. Propsero Books. 

Brooklyn Pops Up. Little Simon, 

The California Pop-up Book. Universe Publications. 

Cinderella. Chronicle Books. 

Dr. Optic's Amazing Illusions with 3-D Glasses and 

Fantastic Pop-ups! Macmillan Children's Books. 

Fashion-a la Mode. Universe Publications. 

Flapdoodle Dinosaurs. Little Simon 

SELECTIONS. -from :fne-- 

August 24. 2002 -January 12, 2003 



Hunt interview, continued from page 2. 

K: As we've discussed earlier, there are a lot of great 
pop-up books on display here at Intervisual. What can you 
tell us about Wally Hunt, the collector, and your goals for 
the pop-up museum? 

W: Well, I decided a long time ago to limit my collecting. 
The only other collection I have are some German Steins, 
which I got started collecting while I was in Germany. 
And I concentrated on just pop-up books. I mean, you 
can't collect everything. Pat and my daughter collect a lot 
of things. I find this is enough. I'm working towards 
having a sufficient number of books so that we can put out 
three traveling exhibitions. There are people that do that; 
the Smithsonian does that. You've got to have something 
that's movable, all cased up and ready to go, and the 
Smithsonian may finance you to have that exhibition. As 
you can see, we've done a lot of that on our own and at 
our own expense. And I would like to continue to do that, 
except that my primary interest would be to have one good 
museum here. This is the logical place for the best 
advertising pop-up and book pop-up collection in the 
world, right here where all these engineers and others who 
have contributed to the industry are or have been. And 
from that permanent collection we could have the 
traveling exhibitions. I'm never going to retire, but that's 
the next step for me, from actually running a publishing 
company. To me, that's going to be fun. 

K: I've noticed that your name only appears in one of your 
books, The Genius ofLothar Meggendorfer, for wh ich you 
wrote the introduction. The Intervisual name appears, of 
course, but not yours. Is there a reason for that? 

W: Did you notice that a lot of our early books didn't 
have anybody's name on it, the Random House and the 
Graphics International books? A lot of them didn't have 
any names. 

K: Right 

W: That was because when I did some of the first books 
everybody wanted their name on the bloody thing, like a 
movie. You could have 145 names here for everybody that 
touched the book. So I said, "I'm not going to put my 
name in the book, so forgive me if I don't put your name 
in the book." Eventually I had to give in, but that's why 
my name is in only one book. Ernest Nister put his own 
name everywhere. 

K: You really are the Ernest Nister of contemporary 
pop-up books. 

W: Nister wasn't an artist, he wasn't a writer, and he 
wasn't an illustrator. But he knew how to get good artists 

and he had a printing plant in Nuremberg. And he produced, 
he was a good marketer. He got E.P. Dutton to sell his books 
in the United States. So, he was an entrepreneur. 

K: That's the correct word. 

W: And that's what I've done. I find good illustrators, good 
artists, give them direction, market the product, and build a 
business. But I don't have to have my name on the cover. 

K: What makes a good pop-up book? And don't say it's one 
that sells. 

W: It's a combination. You have to start with the right 
subject. A good haunted house story will always sell. If you 
get good illustration and good paper engineering, and you 
come up with a reasonable price, you should have a 
successful book. It used to be, say 20 years ago, that we 
could come up with almost anything that popped-up and was 
cute and it would sell. That's not true anymore. We have to 
have good art, good editorial, good printing — all of those 
elements. It's a little bit like television. Remember how we 
used to watch wrestling from Las Vegas, or mud wrestling, 
or the Destruction Derby. The same thing is true with 
pop-up books today. What was terrific 20 years ago is 
mediocre today. 

K: You're saying standards have 
gone up? 

W: Yes, there is always that 
challenge and that's where your 
innovation comes in. What I have 
to say, which is true for every 
good artist, is that you're never 
satisfied with what you did. You 
know you could have done it 
better if you had a little bit more 

K: How many books have you produced at this point would 
you say? 

W: 1400. 

K: 1400. And what titles stand out to you as being favorites? 

W: Well you already know - Haunted House, Human Body, 
Nicola Bayley's Puss in Boots . . . 

K: How about the Genius ofLothar Meggendorfer? 

W: It's ok. What we did was take things out of 
Meggendorfer's books and reproduce them. We didn't 
create. I think Sailing Ships is an outstanding book 


K: What do you think about 
Leonardo da Vincil 

W: Leonardo is good. It may 
be a little too sophisticated. 
The Provensens, who did 
Leonardo, are wonderful. I 
think the National Geographic 
books are superb. I think 
Naughty Nineties is a gem. We 
just had the right combination 
of talent. The German 
publisher said: "Wally, the problem with Naughty Nineties 
is that it's not naughty enough." (Laughing) 

K: I think it hit a nice line. 

W: I wanted something that grandmothers could look at 
and get a kick out of, but that you weren't hiding from the 
children in the house. And it worked out very well. It was 
just the right nuance. And we did Roaring Twenties, of 
course you're familiar with that, and that was more 
difficult because it was a different age. The thing about the 
Naughty Nineties was that they were supposed to be so 
conventional, and you were peeking behind the curtains. 

K: And the black pen drawings were very effective. 

W: And the little touch of red, the boutonniere and all. Oh 
I'm sorry, I should have mentioned Choo-Choo Charlie. 
I think it's a classic. And we've done a new Thomas. Have 
you seen Thomas? This may be the best we've ever done. 
All Aboard with Thomas comes in a slipcase and the little 
wind-up train chugs through a pop-up village. 

K: This is the one I've shown my grandkids. It's 

W: A wonderful artist from Australia, Owen Bill, did this. 
He does all the Thomas illustrations. (Demonstrating 
moving train with whistle.) Unfortunately we don't have 
the rights to sell this in the United States. We've sold it in 
England; we sold it in Japan. Random House has the U.S. 
rights, and they won't buy it. But I really think this is the 
epitome of movable books. And we claim it's a book, you 
notice that. (Laughing) 

K: It looks a lot like a toy, doesn't it? 

W: It's just great. It has everything a child could desire in 
the way of fun. 

K: I want to ask you about any problems in taking 
two-dimensional illustrators, like Michael Foreman and 
Nick Bantock and the Provensens into pop-ups. 

W: No problems. These people are great to work with. 
Michael Forman is a good example. They are very excited 
about it. They appreciate doing something different from a 
flat book. 

K: They probably get a kick out of seeing their work go into 
three dimensions, just like a kid. 

K: Yes, indeed. We sell a lot of them, and some of them 
make a lot of money when we sell hundreds of thousands. 

K: Wally, could you tell us a little bit about what you're 
doing for the next Movable Book Society Convention in 
Milwaukee in September, 2002. 

W: I'm going to go there. 

K: Some of your advertising pop-ups are too, I think. 

W: That's right. Did you go to the one in Brooklyn? 

K: Yes. 

W: I wasn't able to go to that one. Did you meet or hear 
Jerry Harrison there? 

K: He was there for you. 

W: He was my right hand man and was with me in New 
York, when we did all of the Random House books and 
Bennett Cerf's Pop-up Riddle Book. He was a marketing 
man in advertising. That's how we got Maxwell House to 
sell the first advertising premium book that launched the 
pop-up business in 1965. 

K: What is this book you've just handed me? 

W: We're looking at Ten Little Ladybugs by Melanie Gerth. 
It's currently available at Wal-Mart and Target and 
Toys-R-Us and it's going to sell a million books fast. We're 
approaching a million already. This is the book that answers 
the issue about pop-ups being destroyed. It's a novelty book. 
It has tremendous charm and interest, and yet it is relatively 

K: I see this is something you did with White Heat. It has 
both of your names on it. 

W: Yes, that's Jim Diaz. He developed the idea and, as we 
have done for 20 years, we produced and marketed the book. 

K: That reminds me of another thing I was going to ask you: 
digital production, the use of computers now and in the 
future. What are your views on that? 

W: I think it's wonderful. All of our artists and paper 


engineers are using the computer to some extent. Nearly 
everything is computer designed or enhanced now. You 
see, we are not purists. I went to Bristol, England in 1968 
and we had a tea party for the librarians. One of the 
librarians looked at the wonderful Random House Alice in 
Wonderland pop-up book and she was really distressed. 
She said, "How can you take a fantastic story like Alice 
and reduce it to 24 pages. This is sacrilegious." Now 
there's a purist. She didn't think about how many 
children, and adults too, who were thrilled with the book. 
So I'm happy to produce a book like that. 

K: Wally, thank you for allowing me to interview you. 
You mentioned that in 2002 you will turn 82. May I 
congratulate you on having your sights set on the next step 
which seems to include moving Intervisual to a new 
location, a new library exhibit and eventually a permanent 
home for the Waldo Hunt Children's Museum. Fondly I 
salute you as the father of contemporary pop-up books. See 
you in Wisconsin. 

An addendum from Wally Hunt 

The story of my life since 1960 is all about Graphics 
International creating and selling books that were printed 
and hand-assembled in developing countries. I've talked 
a lot about the product developers, but not about the 
printers and assemblers. 

First appreciation goes to Tosho Insatsu of Japan who 
produced all our books and other pop-up from 1960 until 
1969. They did an amazing job of pioneering the hand- 
assembly of books, supermarket displays, greeting cards, 
magazine inserts, and more. Tex Sekimoto did a 
remarkable job of guiding Tosho's efforts while working 
with Ed Posnecke, Graphics International's Tokyo Office 
Manager. Yoshiya (Tex) Sekimoto, who was hired by 
Elgin Davis in 1959, is manager of our Tokyo office today 
and cherished as my friend and oldest employee. 

In 1968-69 labor costs in Japan had increased 
dramatically and we set up new relations with Tien Wah 
Press in Singapore and Carvajal in Cali, Colombia. lb 
Penick was the master planner and made sure all new 
printers adapted the best hand-assembly methods. Carvajal 
and Tien Wah were Graphics International's main 
producers and they continued with me when I started 
Intervisual Communications, Inc. (ICI) in California in 

Today, Intervisual has lost Carvajal, which went out of 
the hand-assembly business in Colombia and Ecuador in 
November, 2001. We still work with Hua Yang, our 
largest printer in Hong Kong; Tien Wah Press in 
Singapore; SNP SPRINT in Thailand; and Winner, 
Pimlico, and Excel in Hong Kong, China. 

I've had a great experience. The customers, the printers, 
and especially the creative people with whom I've worked 
for the last 40 years have made it fun. 

Bibliography of books mentioned in the interview 

Aladdin and the Magic Lamp. Chatto and Windus, 1975. 

Aladdin and the Wonderful Lamp. Random House, [1977]. 

Alice in Wonderland. Macmillan, 1980. 

All Aboard with Thomas Pop-up Playset. Egmont, UK, 


All Kinds of Cats. Scholastic Book Services, 1976; 

Price/Stern/Sloan, [1978]; Purnell, 1981. 

Andy Warhol's Index (Book). Random House, 1967. 

Architecture Pack. Knopf 1997. 

Art Pack. Knopf, 1992; Ebury, 1992. 

Beauty and the Beast. Chatto and Windus, 1976; 

Price/Stern/Sloan, [1977]. 

Bennett Cerfs Pop-up Limericks. Random House, [1967]. 

Bennett Cerfs Pop-up Riddles. Random House, 1965. 

Bennett Cerfs Pop-up Silliest Riddles. Random House, 


Choo-Choo Charlie. Piggy Toes Press, 1997. 

Cookie Monster, Where are You? Random House, 1976. 

[Dinosaurs] Creatures of Long Ago: Dinosaurs. National 

Geographic, 1988. 

Elvis Remembered. Pop-up Press, 1997. 

Facts of Life. Viking, 1984; Cape, 1984. 

Fairytale Castles. 

Fairytale Houses. Methuen/Walker, 1982. 

Fungus the Bogeyman Plop-up Book. Hamish Hamilton 

Children's Books, 1982. 

The Genius of Lothar Meggendorfer. Random House, 

1985; Cape, 1985. 

Hansel and GreteL Chatto and Windus, 1975. 

Harley-Davidson. Pop-up Press, 1998. 

Haunted House. Dutton, 1979. Heinemann, 1979. 

Haunted House, [mini edition] Dutton, 2001. 

The Honeybee and the Robber. Philomel, 198 1 . 

The Human Body. Viking, 1983. 

Leonardo da Vinci. Viking, 1984. 

Mickey's Circus Adventure. Clarke, Irwin & Co., 1976; 

Purnell, 1977. 

Naughty Nineties. Price/Stern/Sloan, 1982; Collins, 1982. 

Nightmare - never published. 

Pornographies. Random House, 1969. 

Pop-up Chitty Chitty Bang Bang. Random House, 1 968. 

Puss in Boots. Greenwillow Books, 1976. 

Roaring Twenties. Price/Stern/Sloan, 1984; Collins, 1984. 

Sailing Ships. Viking, 1984; Intervisual Books, 1997. 

Ten Little Lady bugs. Piggy Toes Press, 2001. 

Three Little Pigs. Chatto and Windus, 1977. 

Thumbelina. Chatto and Windus, 1976; Price/Stern/Sloan, 


Universe. Random House, 1985. 

Wizard of Oz. Intervisual Books, 2000. 


Pop-ups in the News 

New Publications 

"Collector Club Showcase: Movable Book Society." 
Antique Trader 's Collector Magazine and Price Guide. 
August, 2002. p. 41. 

"Leaping Off the Pages." By Katherine Tolford. Los 
Angeles Downtown News. August 14, 2002. 

"The Movable Book Society." By Ann Montanaro. The 
Private Library. Fifth Series, Volume 4:1, Spring, 
2001 (issued spring, 2002). 

"Pop-ups, Peepshows & Paper Engineering." By Phillida 
Gili. The Private Library. Fifth Series, Volume 4:1, 
Spring, 200 1 (issued spring, 2002). 

'Top Art: Part toy, part storybook, pop-up books are 
irresistible to little readers. " By Alyson Ward. 
Star-Telegram [Fort Worth, Texas], June 18, 2002. 

"Toys and Games" 

The Minnesota Center for Book Arts invites 
submissions to its second juried exhibition, "Toys and 
Games," encouraging artists working in any and all 
media, in book forms traditional and not-quite-so 
traditional, to explore "playthings" of all sorts, from 
spinner - Chutes and Ladders - baseball and bingo, to 
verbal sparring - emotional scheming - gambling and 
grown-up fun. Slide entries are due September 10, 2002. 
For more information see: 

Catalogs Received 

Ampersand Books. Summer Catalogue 2002. Michael 
Dawson. Ludford Mill. Ludlow, Shropshire Sy8 1PP 
UK. Phone: +44 (0) 1584 877813. Answering 
Machine/Fax: +44 (0) 1584 877519. Email: uk. 

Stella Books. Pop-up List. 

Thomas and Mary Jo Barron. Catalogue 1 1. 120 
Lismore Ave., Glenside, PA 19038. Phone: 215-572- 

The following titles have been identified from pre- 
publication publicity, publisher's catalogs, or advertising. 
All titles include pop-ups unless otherwise identified. 

Amazing Pop-up Science Flea Circus, by Jay Young. 
August. Sterling Publications. 12 pages. 1-40270-178-0. 

Baby See, Baby Do! Flip the Flaps and Pull the Tabs'. 
[lift-the-flaps, tabs, and pop-ups]. G.P. Putnam's. $12.99. 
8" x 8". 8 pages. 0-399-23728-3. 

Catch That Hat! (Mini Pop-up Book. August. Book 
Company Intl. 1-74047-242-X. 

.\ [>ip-,rp Cefehratinn b> DtnMA. C'-irt. 

Chanukah Bugs: A pop-up 
Celebration by David A. 
Carter. October. Little 
Simon. 8 spreads. 6" x IVi". 

Charlie Chimp 's Christmas: 
A Pop-up Extravaganza of 
Festive Friends. By Keith 
Faulkner and Jonathan Lambert. September. Barron's 
Educational Series. 10" x 10". 16 pages. $9.95. 0-7641- 

Don 't Be Pesky, Little Monkey! October. Silver Dolphin 

Books. 8'/2" x 8'/ 2 ". 16 pages. $12.99. 1-57145-771-2. 

Also: A Hose of a Nose! 1-57145-773-9. 

Cheer Up Little Duck! 


Get Off My Tail, Little 

Whale! 1-57145-772-0. 

Down the Drain! A Moving 

Picture Storybook, [tabs] 

Tiger Tales. 8" x 8". 12 

pages. $7.95. 


Also: Quiet as a Mouse! 


The Eensy Weensy Spider: 
A Pop-up Book. September. 
HarperCollins. 7" x 7". 10 
pages. $7.99. 

Great American Houses and 
Gardens. By Chuck Fischer. 
October. Universe 
Publications. 12" x 12", 7 

spreads, 8 buildings. $39.95. 0-7893-0798-7. 


Hamtaro Pop-Up Play set. 
November. Viz 
Communications. $16.95. 

Hen Goes Shopping: A 
Lift-the-flap Pull-the-tab 
story. Dial Books for 
Young Readers. 9" x 9". 
16 pages. $12.99. 

Here Come Our Firefighters! September. Little Simon. 
8" x 8". 18 pages. $10.95. 0-689-84834-x. 

Home Sweet Home. Busy Bugz Pop-up Series. By 

Christine Tagg. October. 

Silver Dolphin. 9" x 11". 16 

pages. 1-57145-754-2. 

Also: When I 'm big. 


Buzz Off I'm Busy. 


Hooper has Lost His Owner! 

A Touch-and-feel Pull-tab 

Book. [Also includes pop-ups 

and "fur."] Little Brown. 9" x 

10". 20 pages. $13.95. 0-316-06561-7. 

The House that Mack Built: Preschool Pop-ups. Ken 
Wilson-Max, illustrator. November. Little Simon. 7" x 
7". 6 pop-ups. $7.99. 0-689-84813-7. 

In a Dark, Dark Wood: An Old Tale with a New Twist. 
By David Carter, [redesigned, reformatted, new cover 
and art]. September. Little Simon. TA" x 10". 24 pages. 

Junior in the City, [turning wheels] Harry N. Abrams. 
8" x 8". 12 pages. $10.95. 0-8109-3497-3. 

Macy's on Parade: A Pop-up Celebration ofMacy's 

Thanksgiving Day 
Parade, by Pamela Pease. 
October. $36.00. Limited 
edition $75.00. Paint Box 


The Night Before 
Christmas: A pop-up by 
Robert Sabuda. October. 
Little Simon. 8" x 8". 6 
spreads. $24.95. 0-689-83899-9. Limited edition: 

October. $250.00. 0-689-85020-4. 


3 9088 01629 3003 

The Night Before Christmas and The 12 Days of 
Christmas boxed set. Pop-ups by Robert Sabuda. October. 
Little Simon. $45.00. 0-689-85021-2. 

Peekaboo bugs: A Hide-and-Seek Book by David Carter. 
[turning wheels and tabs]. 
Little Simon. 9" x 9". 12 
pages. $12.95. 0-689-85035-2. 



Pinocchio Pop-up. Massimo 
Missiroli, paper engineer. 
September. 6 pages. Emme 
Edizioni - edizioni EL - 
Trieste. 88-7927-571-2. To 
order send email to: 

Pop-up Book About "America the Beautiful" the Famous 

Song by Katharine Lee Bates. Carah Kids. 10" x 12", 8 

spreads. $14.99. 1-931931-07-0. 

Also: Pop-up Book About The Pledge of Allegiance 

Illustrated with Eight of America 's Most Well-known 

National Monuments. 1 -93 193 1-05-4. 

Pop-up Firefighters, Police Officers, and EMTs to the 

Rescue. 1-931931-04-6. 

The Pop-up Commotion in the Ocean. September. Tiger 
Tales. 9" x 10". 12 pages. $14.95. 1-58925-680-8. 

The Princess and the Pea: A Very, Very Short Pop-up 
Story. August. Little Simon. $14.95. 0-06898-468-5 

Puppy Trouble. October. 8" x 10". 12 pages. Farrar Straus 
Giroux.$ 16.95. 0-374-34992-4. 

Rexerella: A Jurassic Classic Pop-up. By Keith Faulkner. 
December. Little Simon. 9" x 11". 6 pop-ups. $9.99. 

03IH5 Schoolhouse 


Sam 's Pop-up Schoolhouse. 
September. Chronicle. 8%" x 
8 'A". 3 spread carousel. 

Treasure Planet: A Pop-up 
Adventure. Disney Books for 
Young Readers. 12 pages. 

You Monsters are in Charge: A Boisterous Bedtime Pop- 
up. Illustrated by Kees Moerbeek. September. Little 
Simon. 7'A" x TA". $12.95. 0-689-84675-4.